The Hungarian producer tells us about her journey and details the editorial line and projects of her company

Selected as the EFP’s Producer on the Move for Hungary this year, Claudia Sümegh is the co-founder of JUNO11 with Tamás Yvan Topolánszky, and has produced I Accidentally Wrote a Book by Nóra Lakos (2025), Silent Night by Gábor Dettre (2024), Heights and Depths by Sándor Csoma (2022) and Curtiz [+see also:
film review
trailer
film profile] by Tamás Yvan Topolánszky (2018).

Cineuropa: What have been the main stages of your career as a producer?
Claudia Sümeghy: I began my producing career in 2014 when I co-founded JUNO11, a Budapest-based production and distribution company, together with my husband, Tamás Yvan Topolánszky. My first feature, Curtiz, won the Grand Prix des Amériques (Best Film) at the 42nd Montreal World Film Festival and later became a Netflix film, available worldwide. My first international co-production, I Accidentally Wrote a Book by Nóra Lakos, was the first Hungarian children's film to win the Eurimages Co-Production Development Award at CineKid, later received Eurimages co-production support, premiered at the 28th Tallinn Black Nights Film Festival where it won Best Children’s Film, and attracted over 150,000 admissions in Hungary. I have deepened my expertise through workshops such as the EAVE Producers Workshop, the Erich Pommer Institute’s European Co-Production Workshop, and ApostLab. I am currently developing DVNA, a multilateral eco-thriller feature set in the Danube countries. Alongside producing, I mentor emerging filmmakers, support other Hungarian projects as a marketing consultant, and distribute European films through JUNO11. I’m committed to sustainable filmmaking and gender balance, which I advocate through speaking engagements and voluntary work in industry initiatives.

What type of films are you interested in making? What is the production philosophy of your company?
At JUNO11, we are drawn to stories that blend strong artistic vision with broad audience appeal. We focus on films that encourage awareness, reflection, and dialogue whether through intimate character-driven narratives or bold genre hybrids. Our projects often explore universal human questions with a distinctive Central European perspective, bridging cultural specificity with international resonance. We believe in long-term creative partnerships and sustainable production models, both environmentally and financially. As a company, we are committed to supporting emerging voices and fostering multilateral European co-productions that combine creative ambition with solid market potential.

As a mother, I am personally dedicated to producing and distributing socially relevant feature films and documentaries for younger generations. I aim to contribute to the mental well-being of Hungarian audiences, using cinema as a multi-sensory tool for self-reflection and balance. Ultimately, we strive to make films that stay with audiences long after the credits roll: stories that move, inspire, and spark conversation across generations.

Can you describe JUNO11's feature slate? 
Our upcoming psychological eco-thriller DVNA by Tamás Yvan Topolánszky, Daniel Hamvas and Barnabás Tóth is an ambitious international co-production, blending crime, science fiction, and environmental themes. The project was developed through the EAVE Producers Workshop as a closed-ending series project and is currently in advanced development as a feature film.

We are also producing Fesztiválország (Festival Nation) by Attila Csizmadia, a creative documentary capturing the vibrant history and cultural impact of Hungary’s iconic music festivals, aimed at a theatrical release. Alongside these, we are developing Never Give Up, a short fiction film about resilience and human connection written and directed by Tamás Yvan Topolánszky, and Ébredés (Awakening), a feature documentary that reflects on the evolving collective mindset in Hungary over recent decades shaped by societal shifts and the broader dynamics of public life.

What do you think of the film financing system in Hungary?
Hungary offers a robust film financing environment, featuring a 30% tax rebate, strong institutional support through the National Film Institute (NFI), and a highly skilled local crew base. While public funding remains essential, we’re also seeing a vibrant wave of independent filmmaking. Recent years have shown that market-driven productions – although operating without state support – can thrive, often still making use of the national tax incentive. Our own projects Festival Nation and Awakening are both independently financed: the former through sponsorship, professional partnerships and tax incentive, the latter entirely self-financed.

These films are often made possible thanks to the generosity and commitment of cast and crew members who work for symbolic or reduced fees - something that reflects the strength of the creative community, but also raises valid questions about long-term sustainability. That said, there is room for building viable business models to support low-budget independent production. For example, our portfolio includes a one-location drama feature film, Silent Night, made on a €30,000 budget, funded through a combination of private equity, tax rebate, and nearly 40% raised via crowdfunding – a process that also proved invaluable in building early audience engagement.

Hungarian animation is also experiencing a renaissance. In 2025, Hungary is the guest of honour at the Annecy International Animation Film Festival, coinciding with the celebration of the 111th anniversary of Hungarian animation. This tribute highlights the country's vibrant animation industry, its rich history, renowned creators, studios, and producers, while also emphasising the presentation of emerging talent. 

Still, greater openness and support for diverse creative voices across all formats would further strengthen the landscape.

You are one of EFP’s Producers on the Move. What does this mean to you and how do you think it will it help you during Cannes this year?
International co-production is a key part of both my personal vision and JUNO11’s long-term strategy. We believe that creative collaboration across borders enriches storytelling, builds mutual understanding, and strengthens the sustainability of the European film industry. We are actively seeking partners whose values align with ours both artistically and in terms of production ethics for our current project in development, DVNA.

As an economist specialised in international relations, I wrote my thesis on the role of European creative industries in driving economic development. It’s a subject that remains close to my heart. I’m personally committed to ensuring that Europe’s diverse creative values are not only culturally significant, but also economically impactful and, through meaningful co-productions, lead to stronger distribution networks and contribute to the financial viability of film production companies, and ultimately, to the economies of the countries involved.

Being part of Producers on the Move feels like stepping into a creative fast lane, with great company and meaningful conversations along the way. It’s an honour to represent Hungary this year, and also a much-needed reminder that even as a producer juggling budgets, contracts, and school pickups, I’m still part of a bigger, visionary European network. I’m looking forward to finding new co-producing and world sales partners, exchanging ideas (and behind-the-scenes survival tips), and soaking up the Cannes chaos with people who are just as passionate about bold stories, smart strategies, and the future of cinema as I am. I’m especially excited to share the experience with Tamás Yvan Topolánszky, who’ll be there with me. Our Cannes trips have become something of a tradition: inspiring, intense, and just the right amount of absurd.